DOUGLAS F. COOLEY MEMORIAL ART GALLERY, REED COLLEGE


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COOLEY GALLERY NEWS /

JESSICA JACKSON HUTCHINS / ARTIST BOOK "CONFESSIONS" AVAILABLE AT CONTAINER CORPS
Published by the Cooley Gallery and the lumber room, Portland

WYNNE GREENWOOD / "KELLY" AT THE NEW MUSEUM, NY, ON VIEW THROUGH JANUARY 10, 2016

Curated by Johanna Burton and Stephanie Snyder, with Sara O'Keeffe
Read Wynne Greenwood's recent interview with Johanna Fateman in Artforum
Visit the New Museum website for info about "Kelly's" final public programs, December 11, 12, 13

MALIA JENSEN / COMING NEXT TO THE CASE WORKS PROGRAM IN THE LIBRARY
READING ROOM

ZERO PROJECT

Katsushige Nakahashi
ZERO PROJECT

A recent gift to the Reed College Art Collection
by the Peter Norton Collection

OPEN TO THE PUBLIC
December 8 – December 20, 2015
January 26 – February 14, 2016
Hours: Tuesday – Sunday, 12 to 5 pm, closed Monday
Groups and classes welcome

OPEN BY APPOINTMENT
December 22, 2015 – January 24, 2016
Please email cooley@reed.edu to visit
Groups and classes welcome

The exhibition also includes a projection space for viewing related films that explore Japan’s post-war history, particularly 1960’s science fiction films that use special effects, animation, and large-scale props to envision fictional pasts and futures.

ZERO PROJECT is a gift of the Peter Norton Collection, part of a larger gift to the Reed College Art Collection, and part of a group of donations to college and university art museums across the country with a focus on supporting programs that highlight education, creative museum practice, and the use of contemporary art to engage diverse audiences.

Katsushige Nakahashi is a Professor of Sculpture at the Kyoto City University of the Arts. His work has been widely exhibited internationally. For more information about Nakahashi's past ZERO PROJECT activities, please visit the artist's BLOG.

Illustration by Jade Novarino.

Many thanks to Citizens Photo for their support in realizing ZERO PROJECT.



Katsushige Nakahashi’s ZERO PROJECT transforms the museum into a space of collaborative making. Following Nakahashi’s detailed instructions, the Cooley is building the artist’s life-size sculpture of a Mitsubishi A6M Zero warplane, the aircraft flown by Imperial Japanese Navy kamikaze pilots during WWII. Visitors are invited to participate in constructing the work.

Nakahashi conceived ZERO PROJECT in response to his experience of Japanese denial about the country’s actions during WWII. He describes the work as a vehicle for communal memory, not just about Japanese history, but about trauma and sacrifice in general. Nakahashi’s father worked as a Zero mechanic during the war, and witnessed the detonation of the atomic bomb in Nagasaki in 1945. Nakahashi intends for the collective activity of making the Zero to inspire cooperation and reflection. Nakahashi states: “By looking back at the past, a spirit of forgiveness, intelligence, and respect for a better future will emerge.

Nakahashi based his Zero on a model plane he played with as a boy. Photographing a similar model with a macro lens, he then scaled the plane to its actual dimensions. Nakahashi’s Zero consists of 25,000 color photographs joined by various kinds of tape. Each iteration of the plane results in a very different artwork. At the close of the project the Zero must be burned, carried from the museum to its destruction site. Nakahashi describes the ritual burning of the plane as a “return to zero,” a cleansing and healing release: “The work is completed only at the point when it is reduced to ashes, but when the ashes are taken up by the wind, and the scorched grass begins to re-grow, these processes are also all part of the artwork …”

Nakahashi’s sculpture is neither precious nor permanent; nor is it an authentic documentary object. It’s “realness” dwells in the work’s eschewing of mimesis for experience, particularly the experience of work over time. The photographs that comprise the plane track the artist’s intimate and personal act of photographing the model. Their focus and color are irregular and inconsistent. They are printed at a photo shop, roll by roll, like family photos before the proliferation of digital media. The plane is like a zine—printed by common machines to safeguard its imperfections and voice.






THE DOUGLAS F. COOLEY MEMORIAL
ART GALLERY, REED COLLEGE
3203 SE WOODSTOCK BLVD.
PORTLAND, OREGON 97202-8199


HOURS: NOON TO 5 P.M., TUESDAY – SUNDAY, FREE
LOCATED ON THE MAIN FLOOR OF THE REED LIBRARY


The mission of the Douglas F. Cooley Memorial Art Gallery is to enhance the academic offerings of Reed College with a diverse range of scholarly exhibitions, lectures, and colloquia in its role as a teaching gallery.

The gallery was established by a generous 1988 gift from Sue and Edward Cooley and John and Betty Gray "in support of the teaching of art history at Reed College, as part of an interdisciplinary educational experience that strengthens the art history component of Reed's distinctive humanities program." Exhibitions are coordinated in collaboration with Reed faculty members and courses, with attention to the needs and interests of the larger Portland and Northwest arts communities. A schedule of three to four exhibitions during the academic year brings to Reed and the Portland community work that would not otherwise be seen in the region.



 
Stephanie Snyder
John and Anne Hauberg Curator and Director
Office: 503.777.7251
Fax: 503.788.6691
Cell: 503.367.7004
snyders[at]reed.edu

Colleen Gotze
Registrar and Program Coordinator
Office: 503.517.7851
Fax: 503.788.6691
gotzec[at]reed.edu

Greg MacNaughton
Education Outreach Coordinator
Calligraphy Initiative Coordinator
Office: 503-517-7677
Cell: 503.929-3663
Fax: 503.788.6691
macnaugg[at]reed.edu

Please email Registrar Colleen Gotze to be added to the Cooley Gallery announcement list and for general gallery questions.